The Body Politic – Egressor

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As sonically savage as it is melodically radiant, Egressor provides one sizeable tempest of aggression, passion, and technical invention which thrusts Canadian progressive metallers The Body Politic into a whole new spotlight. The EP is a furious yet seductive storm which is as accomplished and gripping in its senses ravaging enterprise as it is in its rich croon of melodic and harmonic endeavour. The six track encounter provides a blistering fascination and unpredictable adventure which took a short while to reveal all its glories but emerged as another of the rigorously compelling events of the year.

Coming out of Vancouver Island and taking their name from the Clive Barker short story, The Body Politic made an attention grabbing mark with their well-received debut album All Too Human in 2011. Their sound entangles the nuances and freedom of jazz, which most members of the band studied at Vancouver Island University, with the colourful exploration of progressive metal and the predatory voracity of metalcore. It is a striking blend, skilfully twisted into an imagination binding storm as evidenced by Egressor. Following a period which has seen the band undertake several Canadian tours and share stages with the likes of Tesseract, Protest The Hero, and Scale The Summit, the new EP suggests it holds the spark to wider recognition as it sets the band out from the crowd.

The release impresses in many aspects, the technical craft, explosive adventure to the songwriting, and the striking vocals of Sam Britton the most striking of these. Produced by Spencer Bowman, the release opens with Vitam Agere. It EP Cover - Body Politic - Egressor - 2014is a haunting instrumental piece, emotion spilling keys stroking ears as a sonic wind grazes the senses. The restrained entrance soon brews up a forcible and portentous coaxing as guitars and rhythms sculpt a climactic air which is still soaked in that initial haunted, almost apocalyptic texture. The track flows straight into Armature, the track an immediate onslaught of eventful and demanding rhythms aligned to scorching grooves and ragged riffs. Driven by the coarse scowls of bassist Jesse Janzen, his tones as aggressive as the metalcore spine of the track, the song swiftly reveals potent scenery of raw persuasion from the riffs of Matt Aasen and Dan Montgomery alongside the thumping beats of Spencer Bowman. This onslaught is tempered by the technical flair and imagination the guitarists also unleash and the exceptional clean vocals of Britton, his entrance the final piece in the jigsaw bringing the track alive. As soon realised every moment is just an instance in the journey of a song, the starter proceeding to steer ears and emotions through avenues of raucous passion and ingenious technical enterprise, all soaked in the emotive keys of Rob Wilkinson.

It is an imposing and impressing start but merely a taster of greater things to come, instantly shown by the following All Hands. Electro radiance sets the track off before a torrent of contagious jagged riffs and the brawling tones of Janzen erupt, their confrontation swiftly tempered and complimented by the smooth flow of Britton’s delivery. The song then twists into an enthralling schizophrenic dance of psychotic rhythms and similarly bred sonic imagination, both aspects flirting with and chewing on thoughts and senses respectively. It is a glorious turn in the song before it slips back into its melodic fire bound in hostile intent. The track is sensational, a constant flood of creative intrigue and bold invention unafraid to wrong-foot and confront the listener.

Swing For The Fences has the task of following the EP’s first highlight and does so with antagonistic gusto. Grooves and riffs climb over the psyche from the off before relaxing into a melodic embrace led by Britton’s refreshing tones. Keys and melodies wrap emotive arms around ears before the track combines its dark and light side for another absorbing flight of riveting imagination and honest passion. Both sides of the vocals impress but it is the guitars which push passions from ardour into a lust for the song, their almost cryptic invention as bewildering as it is bewitching and never allow senses and thoughts to settle and get a firm hold of the swirl of sonic acidity and bedlamic enterprise at the heart of the track.

In song and EP though, every part of the band combines to create spellbinding torrents of adventure and intent, keys and bass as vocal in their own way as the rhythmic and sonic character of tracks. Colqhoun instantly proves the point, the throaty lure of Janzen’s bass and the seducing presence of Wilkinson’s keys potent and expressive textures in the song’s exploration. Though not as dramatically gripping as its two predecessors, it casts a seriously rewarding and imagination provoking canvas coloured by raw metal and jazz rock hues, before making way for the closing Irradiate. The final track takes its initial crystalline melodies into a turbulent yet infectiously captivating furnace of adversarial angst and provocation, shadows and light hurling themselves around each other through the stunning skill and imagination of the band.

The track is a thrilling end to an outstanding release, one with the flesh and soul to push The Body Politic to the forefront of progressive metal.

The Egressor EP is available now digitally as a name your price download and on CD @ http://thebodypolitic.bandcamp.com/

http://www.thebodypolitic.ca/

RingMaster 17/09/2014

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Dioramic – Supra

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There is a clutch of bands with the imagination and mastery to combine mouth-watering beauty and voracious aggression in one heavily imposing proposition but few able to conjure the mesmeric seduction and creative ferocity as found on Supra, the new album from German metallers Dioramic. The bands third full-length release is an extraordinary exploration of light and dark textures, technical and feral ingenuity, and breath-taking invention. One of the most scintillating, awe inspiring encounters in recent years.

The quartet from Kaiserslautern is no strangers to making jaws drop in response to their craft and adventure, previous albums Phase Of Perplexity and Technicolor in 2004 and 2010 respectively, greedily received but Supra finds the band at a whole new plateau of sonic alchemy. The album was begun in 2011 but a line-up change due to drummer Anton Zaslavski’s success with his own Grammy award winning project Zedd, meaning he had little time to devote to Dioramic, halted the recording of the Supra. Paul Seidel (War From A Harlot’s Mouth, The Ocean) was recruited to take up the sticks in the band, with the album subsequently completed last year. Released via Pelagic Records, it now makes its stunning entrance into the world and is set to draw a new template for others to be inspired by through its multi genre embracing fury of progressive rock and metal.

Describing the sound of band and album is an on-going task as each track takes ears and emotions down a new richly flavoursome avenue in the general riveting landscape of the release. Imagine a mix of Muse, The Ocean, Between The Buried And Me, and Australian band Voyager and you get a glimpse of the invention of Dioramic. From its first moments Supra is gripping attention and imagination, the opening seconds of Xibalban a tempting lure which expands rapidly into a tempest of muscular intimidation from riffs and rhythms alongside a sumptuous beauty from vocals and expressive melodies. The track manages to cast a hazy warmth and radiance within a voracious wall of sound and intimidation, keeping both wrapped in a clarity which astounds and spellbinds. At times it is seeded in progressive metal, in others a metalcore rage, whilst throughout there is a melodic sun of enterprise and provocative intrigue, and we have not mentioned the thrash and groove metal twists which amongst many enter the bewitching narrative of the track.

The stunning start is straight away matched by the slightly more merciful but no less gripping Carpets On The Walls. It opens with a gentle melodic caress which in no time turns into Meshuggah like voracity and technical emprise clad Bildschirmfoto 2014-07-20 um 21.16.10in whispers of theatrical drama and sublime imagination. It is a riveting start which evolves into a glorious melodic soar of vocals from guitarist Arkadi Zaslavski and sonic endeavour from him and fellow string exploiter Alexander Mauch, the encounter taking ears on yet another unexpected and unpredictable flight.

Two tracks in and the release is a breath-taking encounter, one not prepared to take its foot off the pedal of creative tenacity as shown by the following The Calm Before and The Storm. The first as suspected from its title is a gentler glide than its predecessors, a restrained glaze of melody enriched vocals within a portentous atmosphere. In that provocative temptation though, the track explodes into climactic and turbulent roars which stirs up the hostility in rhythms and senses searing riffs, not forgetting the gloriously carnivorous tone of Max Nicklas’ bass, before relaxing back into the ambient poetry of the song’s breath. It is a bewitching encounter setting up its successor perfectly, though the following track does not quite go for the jugular musically as expected. Vocally though it is initially an uncompromising fury, antagonistic squalls prowling the psyche as stabbing riffs and fiercely imposing rhythms set a commanding cage. Opposites and extremes again toy with ears and thoughts, a sublime wash of vocal harmonies and melodic elegance finding their potent place in the tempest.

Even greater heights are breached by Worth and Big Pump, each a new torrent of technical vivacity and passion igniting invention. From its opening breath, the first of the two breeds a blistering contagion to soak ears and emotions, expressive clean vocals aligned to deeply gripping hooks and rhythms binding ears in their infectious suasion. Zaslavski finds a Matt Bellamy like presence to his voice which is supported just as magnetically by the tones of the rest of the band within the cradle of spikey riffs and radiant melodies. Muse meets Palms with Periphery looking on; it is a sublime piece of songwriting and its sultry realisation, matched by the more predatory second of the two. Riffs snarl and challenge from the first swipe of similarly aggressive rhythms, their bordering on hostile presence taken into rawer confrontation by the aggression driven vocals. The track proceeds to roar and seduce the senses, the intricate spirals of sonic endeavour and rhythmic agitation a fascinating and thrilling canvas for the corrosive vocals to bellow from. As expected the track evolves and twists before ears for yet one more absorbing and exhilarating provocation.

Melancholia offers exactly what is says on the tin, its evocative coaxing covered in emotive shadows and vocal elegance as keys spread their equally passion washed narrative. It is an engrossing basking for senses and thoughts before the inventive maelstrom of Logbook comes in, once more vocal harmonies and melodic flames encased in rugged rhythmic walls and scarring riffery for an astonishing drama fuelled emprise.

The album ends with Vortex Reflex, a further smouldering immersion into the vocal mellowness and irresistible melodic charm which seduces across the whole album, within the rhythmic ingenuity and sonic fire which equally makes Supra one of the pinnacles of the year. The album is quite simply an illustrious encounter with Dioramic setting new plateaus for others to aspire to.

Supra is available through Pelagic Records now digitally, on limited coloured vinyl edition, and CD which comes with an extra DVD with live material, studio reports and interviews @ http://pelagic-records.com/cds/

https://www.facebook.com/dioramic  

10/10

RingMaster 15/09/2014

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Alone With Wolves – The End of Nothing EP

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Fusing an impressive and striking fusion of heavy rock with a voracious metal intensity, UK band Alone With Wolves has a sound which sits easily within the varied shades of metalcore and post-hardcore as well as quite simply rock and metal. The proof is in the band’s new The End of Nothing EP, a five track collision of flavours which combine for a passion drenched and thoroughly captivating tempest of sound and emotion. The band on the evidence of their impressive second release, fuse the strongest essences of those previously mentioned styles into something which has a familiarity to its angst and presentation but an individual freshness which sets the Hertfordshire sextet apart from most of the crowd.

Formed in 2011, Alone With Wolves were swiftly into a charge of shows across the South of the UK, including sharing stages with the likes of Hildamay and Mallory Knox. The band was soon recruiting a passionate fan base and following, which their self-titled EP of 2012 only reinforced and pushed on. Their sound is simultaneously melodic and ferocious, as mentioned combining a varied weave of flavours inspiring comparisons to bands such as Alterbridge, Architects, 30 Seconds to Mars, and Deaf Havana. Alone With Wolves has certainly been brewing up potent attention to date which the new EP has the potential and power to take to a nationwide spotlight.

It launches itself with a sonic enticement as Cutting Ties sizes up ears before expanding into an imposing but inviting mix of raw riffs and melodic enterprise driven by sinew swinging rhythms and a great throaty bass sound. It is not a 13606_925710967443706_5848660365238708299_ndramatic but certainly appetite awakening start which the combined persuasion of vocal roars from guitarist Lewis Watson and the clean magnetic melodic tones of Danilo Fiocco are soon colouring with emotion. The track is as antagonistic as it is enticing, two sides merging for a fiercely potent and adventurous blaze of sound which ebbs and flows in its rage and intensity. It never settles into a less than voracious stance though, the rhythms of drummer James Noble and bassist Mark Stanford fuelling a creative hostility whilst guitarists Watson and Kieron Baker craft an enthralling narrative of riffs and melodic endeavour.

The strong start is followed by the raw opening brawl of the title track which is soon sharing the suasion of a great contagious and melodic weave aligned to Fiocco’s impressive delivery backed by Stanford and rivalled by the squalling tones of Watson. The song is an appetising encounter which feeds expectations at first but a sudden shift into rugged metal territory and subsequently a seductive flight of expressive melodies soon has intrigue and unpredictability as vocal as the passion and enterprise drenching the track.

My Life In Your Hands has a more metalcore cored explosiveness to its presence but again the at times almost duelling vocals and emotive ideation of guitars takes the song to a powerfully satisfying adventure. The least dramatic of all the tracks, it still potently feeds an open hunger inspired by its predecessors, the invention of Baker impressing especially, before the outstanding enticement of The Change takes over. A more tempered and melodic hug from the start but with a sturdy intent to the muscular rhythms framing the impassioned drive of the expressive hues and vocals, the song croons with an intimacy which is arguably less open in other tracks. It is no lightweight though, jagged riffs and thumping beats a demanding proposition caging the raw beauty within. With only the fade out of a quite climactic finale annoying, it is the biggest highlight of the encounter.

The closing With You In Mind is an intensively imposing onslaught of rhythmic provocation and senses bruising aggressiveness which still embraces a mouth-watering flame of sonic and melodic invention. It is as mesmeric as it is challenging and an enthralling tempest of invention and passion to bring The End of Nothing to a climactic conclusion.

It is fair to say that The End of Nothing EP did not ignite a raging fire in the belly for it but it is one of the most invigorating metalcore/post hardcore releases this year and the spark to a real hunger to hear more from a band with a very healthy future ahead.

The End of Nothing EP is available from September 1st and available through all good digital outlets.

https://www.facebook.com/alonewithwolves

http://awwofficial.bandcamp.com/

8.5/10

RingMaster 31/08/2014

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From Her Eyes – Demons

From Her Eyes Online Promo Shot

From Her Eyes may be young in age, its members just slipping out of their teens, but there is a maturity to their sound which instantly impresses as it belies their youth and ensures the Welsh metalcore band is a thoroughly captivating proposition. The release of their debut EP Demons reinforces an already keen buzz for the band whilst taking their presence to a national level to, it is easy to expect, similarly eager but ultimately wider attention growing up around them.

Formed in 2012, the Bridgend consists of school friends Tom Owen (vocals), James Kearle (guitar), Jesse Simmonds (bass) and Gary Holley (drums). From Her Eyes since day one has been a rigorously active proposition, sharing stages with the likes of One Last Breath, Red Seas Fire, Continents, When We Were Wolves, Set to Break, and Reaper in Sicily amongst hordes of shows before settling down to create their first release. That saw the band linking up with Jonny Renshaw (Devil Sold His Soul) at Bandit Studios to record Demons with the resulting EP a compelling and gripping slice of voracious angst fuelled metal.

The EP opens up with brief instrumental Decay, a haunting piece with elegant guitar craft coaxing ears and imagination within a brooding air of portentous persuasion. More subtle than dramatic and beautifully crafted, the track is a From Her Eyes Cover Artworkmagnet into the release and the following Comatose. From its first breath the vocal delivery and narrative of Owen is an impassioned presence which roars within an immediately enticing web of sonic and rhythmic enterprise. There is ruggedness to the beats of Holley and riffs of Kearle whilst Simmonds unveils a heavy throated lure from his bass which only adds to the weight and presence of the track. To that muscular intent though the acidic melodies and sonic weaving brings a vibrant colour and strained charm which exposes the strength and invention of the band in songwriting and sound impressively.

From that mighty proposition the releaser grows another level with Porcelain, its gentle initial coaxing where again melodies seduce and intrigue with their emotive hues, leading into a tempestuous storm of heavily descending rhythms and abrasing riffs. An additional squall of anger to that offered by Owen makes an imposing and pleasing pressure whilst the song almost flirts with the antagonism that rages with every beat and chord. As in its predecessor though, in the wall of confrontation there is elegant veining which is as dramatic in its evocative presence as the brawling endeavours surrounding its beauty. The track is outstanding, easily the best on the release and another potent reason why From Her Eyes is being touted as a big event waiting to happen.

The next up Disillusionist is a rawer abrasion than the previous tracks, though it too is equipped with intelligent and intricate sonic suasion. It does lack the spark of those earlier songs with its hostile breath overpowering the previously perfect blend of rage and elegance but it still makes for a stirring and riveting incitement to keep the release firmly entrenched in attention and appetite.

Elysium with its post hardcore resonance is a brief respite from the rage of the last song but it too is lacking something to make it spark in the passions. Despite that its masterful sculpting is a draw in its own right to ready ears and emotions for the final evocative tide of the title track. The last song’s first touch is a controlled but turbulent wash of heavy swiping rhythms and vivacious sonic enticing which swiftly enslaves the senses before its finds a sturdier antipathy. It is a powerful and robust finale infused with the richly appealing melodic lacing and sonic colouring which sets the band apart from the majority of the metalcore crowd, though still not quite enough for the band to find its own distinct corner. The song also features Lucas Woodland, the vocalist from Falling With Style. His presence and excellent clean tones highlights the only wish to be had with the EP, a bolder variety to the vocals. Owen is impressive but as with seemingly the majority of metalcore seeded bands there is an aversion to temper or fuse the raging single minded roars of passion with something openly different. If there is one band which could do it to striking success though, on the evidence of the last song, it is From Her Eyes.

The song is an excellent end to a similarly impressive release. Demons will push From Her Eyes into a richer attentive spotlight and the country will embrace their debut with relish, that is surely a given so now it is up to the band to take it to the next highly anticipated level.

The Demons EP is available now @ https://fromhereyes.bandcamp.com/

https://www.facebook.com/FromHerEyesOfficial

8.5/10

RingMaster 26/08/2014

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FROM HER EYES offer their ‘Demons’, on 25th August‏

From Her Eyes Online Promo Shot

FROM HER EYES HAVE THEIR EXPLOSIVE DEBUT EP NATIONALLY RELEASED!

Up-and-comers ‘From Her Eyes’ are poised for a brisk climb with the national release of their rousing debut record ‘Demons’, which hits outlets on Monday 25th August.

Born in 2012 and hailing from Bridgend, Wales, ‘From Her Eyes’ carry the potential to follow in the footsteps of fellow home-towners ‘Funeral For A Friend’ and ‘Bullet For My Valentine’. Consisting of old school friends Tom Owen (Vocals), James Kearle (Guitar), Jesse Simmonds (Bass) and Gary Holley (Drums), the metalcore quartet have a formidable and mature sound that certainly defies the fact that they are all just out of their late teens.

By drawing power from the Architects, While She Sleeps, Devil Sold His Soul and post-rock heroes, Touche Amore, the band has cultivated a sound that is direct, hard-hitting, and all consuming.

Despite their lean years, the band have been actively hitting the road since the end of 2012, and during this time have chalked up a plethora of fiery live shows, including igniting stages whilst supporting the likes of With One Last Breath, Red Seas Fire, Continents, When We Were Wolves, Set to Break and Reaper in Sicily. After winning souls with their live set, the post-hardcore seeded band soon turned their attention to their first record, and earlier this year bunkered down at Bandit Studios with Jonny Renshaw (Devil Sold His Soul) to record their forthcoming new EP ‘Demons’; the resulting fury nothing short of breathtaking.

‘Demons’ starts off with the hypnotic and atmospheric ‘Decay’, which lulls you into a faux state of calm before the monstrous ‘Comatose’ hits you right between the eyes. The juggernaut groove of ‘Porcelain’ also works its way into your grey matter with devastating conviction, while the fantastically frantic ‘Disillusionist’ further displays the band’s arsenal of hefty riffs at their disposal. The haunting ‘Elsyuim’ is next and it highlights the combo’s impressive maturity and guile. Finally, the EP’s namesake ‘Demons’ completes the record, crowning a striking piece of work that proves the rising riff tyrants are ripe for national recognition.

From Her Eyes Cover Artwork

https://www.facebook.com/FromHerEyesOfficial      https://twitter.com/FromHerEyes

 

Idols of Apathy – Unheard Words

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Unleashing a sonic cyclone of unwavering hostility and technical victimisation, Unheard Words the debut EP from UK metallers Idols of Apathy is one formidable and gripping slab of creative savagery. As striking as it is vicious, the release explains with ease why there is a healthily buzz brewing around the band. It is not without aspects which prevents it making an even more major impact but with a raging potential and openly impressive craft to its sound and textures, it is easy to raise excited anticipation of big things for the band ahead.

Hailing from Essex and uncaged in 2013, Idols Of Apathy probably could not have made a more attention grabbing assault on the senses to start off their consumption of the country’s senses than with Unheard Words. Five tracks across a fifteen minutes furnace of sound and aggression, the release is a short bludgeoning shock to the system but one which does leaving a lingering impression and hunger in thoughts and appetite. It certainly takes work to explore and reveal the intricacies and superb skilled invention at play, its thick surface similarity to an arguably formula attack of songs already having fallen short in the opinion of some others, but dive into the eye of the storm and that is where songs and Idols of Apathy excel and surprise.

The EP starts off with brief instrumental Rebirth, a piece which enthrals from its first seconds with a melancholic ambience and melodic wistfulness, soon graced further by a harmonic haunting. It seduces senses and imagination before Artworkthe staggered djent charm and tenacity of the guitars within viciously stabbing rhythms ravage the air. That initial mesmeric beauty still persists though as it settles seamlessly into the portentous tempest stirring ruggedly around it. That intimidating suggestion is swiftly realised with Death Row. The corrosive vocal roar of Jack Paul Dervish explodes in ears first, matched by the ferocious backing tones of Dean Chignell whose guitar, alongside those of Tom Johnson and Joe Gregory, collide in an ear splitting maelstrom of intensive and technical voracity. As much as the track seemingly is intent on annihilation of the senses, there is a swagger and a budding nest of grooves poised and hinting in the belly of the fury. It swiftly makes for an intriguing and riveting encounter, to which the returning melodic call from the instrumental adds a rich emotive hue . It is a stunning track which continues to reveal new corners and depths within its bestial rage; every breath and twist a punch and treat for ears but within a frame of less than three and a half minutes there is no time for excess and showing off, not that you ever feel the band has the urge to go into that kind of indulgence.

The dramatic and impressive encounter is backed up by the just as imposing The Devil’s Clock Tower. That earlier comment about similar touches of songs is evident here as the rhythmic and guitar enterprise bleeds into what came before without close attention, even with the evocative sonic coaxing in their midst. As it grows and digs deeper into its intensive heart though, the guitars sculpt an individual web of temptation whilst the bass of Elliot Black in league with the ear drum puncturing beats of drummer George, brutalise and seduce in equal measure as the vocals again provide a caustic challenge to sink teeth into. As all songs, it is not just about the maliciousness though, the atmospheric fire and melodic colour drenching the track being as provocative and imaginative as its inhospitable drive and passion.

The release is concluded by firstly Ventriloquist, a track which filters its predatory animosity through a maze of scything riffs and mouth-watering ideation. The rhythms refuse to have a veil of course, their crippling designs and hard fisted rabidity resourcefully vengeful and as irresistible as the sonic binding and aggravated riffery working away on the passions. It is a fine torturous confrontation which is matched by the closing Deceiver, which as the previous song comes from distant scenery but this time simply takes the senses in its teeth and musically and vocally flails and tears their security to shreds. It is a devastating onslaught with strangely a touch of Mudvayne to it initially before the track unleashes another creative blend of metalcore and technical metal to engross and violate ears. It is a powerful and viciously engaging protagonist bringing the EP to a potent end.

Unheard Words is a commanding and impressive debut which leaves thoughts in no doubt to the promise and quality of Idols of Apathy. For sure it has that to be honest minor issue of tracks sharing certain aspects of their identities and it is fair to say that their sound just now fails to really stand out against the best similarly styled, aggression clad bands pushing the genre. Idols of Apathy though easily stand in the company of most of that crop with all the potential to find their lone voice in the future with you imagine even more impressive endeavours.

The Unheard Words EP is available now as a free download @ http://idolsofapathy.bandcamp.com/

https://www.facebook.com/IdolsOfApathy

8.5/10

RingMaster 25/07/2014

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Surviving The Charade – We’re Never Coming Home

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First impressions of We’re Never Coming Home, the debut album from Swedish melodic metallers Surviving The Charade, went from being slightly underwhelmed to inexcusably captivated as it revealed more about the qualities and imagination of the band with each and every track. Given numerous excursions through the ears, the ten track encounter has become a rigorously impressive and exciting proposition for imagination and emotions. Certainly it still has thoughts questioning and succumbing to occasional reservations, but with the voracious inventiveness and surging potential which soaks the band both Surviving The Charade and We’re Never Coming Home have emerged as incitements to get increasingly excited about.

Formed in 2008, the Stockholm sextet took little time in awakening a potent fanbase and attention with first EP Your Breath Smells Like Ben & Jerry’s. Its strong presence was more than matched by the band’s live performances which continued to draw eager followers towards their striking emergence. The following We Refuse To Stand In EP continued their rising success as did the band’s appearances at prominent festivals and supporting metalcore greats Adept. 2013 saw Surviving The Charade drop in on England to record We’re Never Coming Home with producer John Mitchell at Outhouse Studios (Architects, Enter Shikari, You Me At Six, etc.). Infusing inspirations from the likes of Asking Alexandria and Architects into their sound, Surviving The Charade provide an intriguing weave of textures and flavours within their first album, a web which as mentioned impresses and at times has you wondering but persistently leaves ears and attention captivated.

The title track starts things off and this is where that initial felling of being underwhelmed initiated. Certainly the opening of crystalline DVDAXXX2XX.pdfkey cast melodies set before vocals squalls from a distant ledge is an enticing lead into the accomplished and skilfully crafted song but subsequently it is a formulaic encounter which barely hints at the real adventure to come. Nevertheless with punchy rhythms from drummer Sebastian Brydniak framing the evocative narrative impressively led by the clean vocals of Simon Brantklev, the track is an imposing introduction which with its brief length is the right way to look at it even though it kind of gives the wrong impression of the album ahead.

Classically bred keys grasp the ears first as Shout, Walls, Shout! erupts, a startling unexpected grab of the imagination which soars over the hostile raw squalls of the band’s other vocalist Daniel Rotstam. It is a pungently dramatic and creative entrance to the song though some of that potency is lost as it then relaxes into a more straight forward melodic metal stride. To temper that though the bass of Fredric Fji Johansson gnaws at the senses whilst the guitars of Fredrik Brollin and Viktor Lundberg grind, whine, and croon with acute devilry. It is a formidable suasion which leaves its predecessor quite pale in comparison, though as skilled and commanding as the music is, it is the vocals which steal the show, the clean tones of Brantklev a transfixing caress and the roars in great variety from Rotstam carnivorously appealing if not always fully successful.

The following Above The Skyline stomps and seduces with a blend of classically bred elegance and ferocious antagonism vocally and musically, hooks and melodies in as much abundance and strength as heavily swiping rhythms and savage riffs. It is a riveting encounter which lurches at and romps with the senses in an evolving gait but lacks the spark which lit up its predecessor. It does give another flavoursome taste to an already established appetite for the release though which is soon enriched by the outstanding Shotgun Wedding Bride. From its first breath the song is ripping at the jugular with sinewed sculpted riffs and rhythms courted by caustic vocals whilst a haunting melody teases above the ravenous persuasion. The body of the track has a post hardcore hostility to its rabidity which takes on another depth of angst and ferociousness behind the clean seducing of Brantklev which in also seems to inspire a creative rapaciousness from the stabs of Brydniak and the varied snarls from Rotstam. It is a tremendous brawl which reveals the rich promise of the band ahead and their quality now.

The initial voracious intensity and Meshuggah like blaze The Diary Of Frosty Jack keeps ears and passions feverish with its truculent sonic and rhythmic intent, though the cleaner passages whilst adding further poetic toxicity defuse the breath-taking intimidation a tad. It is another immensely satisfying onslaught though, which as across the album, for every moment where things lack certain potency or success in their twists there is a horde of highly inventive, captivating sounds and ideation to enthral thoughts and emotions.

The vivaciously anthemic Here We Stand where emotive melodies and fiery harmonies stake their lingering claim on the imagination within a maelstrom of predacious intensity leaves imagination and attention exhausted next. Of. It is a tremendous fire enticing creative thought with a dramatic presence which leaves the next up Broken Glass a real test to emulate, which it almost does with its robust and blistering contagion within a continually shifting storm of emotive melodic grace and adversarial spite.

The predatory metalcore spawned sound of Dance For Messiah brings another inventive tempest to explore though it fails to enslave the passions with either the lingering vitriol or infectiousness of other songs. It is full of great and skilfully executed twists and turns but feels too familiar in its overall body of sound ultimately, thus feeding expectations somewhat. It also suffers lying between the previous pair of songs and Like Animals. Virulently infectious and strikingly inventive, the track is a relentlessly evolving dervish of argumentative seduction and amicable ingenuity, a song which if human would be classed as schizophrenic for many thrilling reasons. It is an outstanding slab of captivation, everything about it sensational and the best thing on the album.

The closing The Night We All Forgot is a song which may be should not work but does. Its opening chorus of vocals and throaty basslines is so obvious that you feel the band is just going for an easy exit, but then things turn into a threatening stretch of savagery vocally and musically that you swiftly reassess. The song continues to change and bewilder, its melodic almost pop infused moments an unsure success and its vicious inhospitable pillaging irresistible, whilst combined they ebb and flow in persuasion. It is whole though the song is a fixture in mind and emotions long after its departure so that like the album no matter any doubts it is an undeniable triumph.

It is hard not to get excited about the future of Surviving The Charade and to cast a keen anticipation for their next releases on the back of We’re Never Coming Home, a reaction we expect a great many to find through this gripping encounter.

We’re Never Coming Home is available from Monday 2nd June through all digital stores.

http://survivingthecharade.com/

8.5/10

RingMaster 01/06/2014

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